american art post 1300s

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By Nisha George,Devon Rush, Taylor Martin, and Abby McCarty

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american art after the 1300's, mostly before the spanish conquest i think

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Page 1: American Art Post 1300s

By Nisha George,Devon Rush, Taylor Martin, and Abby McCarty

Page 2: American Art Post 1300s

•Humans first arrived in the Americas about 30,000 years ago.

•Civilizations with some similar characteristics rose across North and South America. (The Olmec, Maya, Aztec, Inca)

•Art was central to the indigenous people’s lives. Most art pieces had ritual uses.

Page 3: American Art Post 1300s

•The Mexica people were the rulers of the land. (previously nomads)

•They rose to prominence during the 15th century through a series of alliances and royal marriages and began an aggressive expansion that brought them tribute to transform the city.

•They were divided into 3 classes: elite rulers, merchants/artisans, and farmers/laborers.

•Their religion depended on human actions like bloodletting and human sacrifice rituals.

•Hernan Cortes found Tenochtitlan in 1519, in awe of the architecture in the middle of the Lake.

Page 4: American Art Post 1300s

A View of the World,

pg. From Codex Fejervary-Mayer, 1400-1519

•shows preconquest view of the people

•the fire god, Xiuhtecutli

•4 directions with color, bird, and god.

•Blood flows from Tezcatlipoca’s attributes

•The symbolic circles

Page 5: American Art Post 1300s

The Founding of Tenochtitlan page from Codex Mendoza

•Idealized representation of the city and its sacred precinct

•symbol of the city

•Waterways divide the city into four parts

•Aztec Conquests

•Skull rack

•Great Pyramid dedicated to Huitzilopochtli and Tlaloc

•sun rose on different sides of the temple, uniting fire and water

•During the equinoxes, the sun illuminated the Temple of Quetzalcoatl

Page 6: American Art Post 1300s

The Moon Goddess Coyolxauhqui (“She of the Golden Bells”) from the Sacred Precinct (Templo Mayor) 1469? Mexico City

•Relief at the foot of the Great Pyramid

•Rope with a skull around to her waist

• Bells on her cheeks and balls of down in her hair

•Magnificent headdress

•Distinctive ear ornaments

Page 7: American Art Post 1300s

Rock-cut sanctuary, Malinalco

Mexico, 15th century, modern thatched roof

•Pointed

•carved into the side of a mounted

•formidable entrance

•symbolic cave into the mountain; the womb of the earth

•pit for blood sacrifices in the heart of the mountain

•circular room inside

•Semicircular bench also inside, carved with a stylized eagle and jaguar skins

Page 8: American Art Post 1300s

The Mother Goddess, Coatlicue

1487-1520 Basalt, 8’6”

•Found near the ruins of Tenochtitlan’s sacred precinct

•A conquistador descrived seeing this statue covered with blood inside the Temple of Huitzilopochtl

•Skirt of twisted snakes that also form her body

•Necklace of sacrificial offerings

•broad shouldered figure with clawed hands and feet

•the sculpture’s simple, bold and blocky forms create a single visual whole

•it would have been painted originally

Page 9: American Art Post 1300s

The Inca Empire:

· One of the largest states in the world at the beginning of the 16th century

· Stretched across modern day Peru, Ecuador, Bolivia, and Chile

· It was called the Land of Four Quarters

· Inca Empire began to rapidly expand in the 15th century through conquest, alliance, and intimidation.

· Had a hierarchical bureaucracy and various forms of labor taxation

· Agriculture was divided into 3 cateragories: those for the god, the ruler and state, and the local population.

· To move their armies and speed up transport and communication, 23,000 miles of roads were built.

· The Inca kept detailed accounts on knotted and colored cords.

Page 10: American Art Post 1300s

Inca Masonry:

· Using heavy stone hammers, Incan builders created durable stone structures.

· Commoners’ houses and some walls were made of irregular stones that were carefully put together.

· Certain domestic and religious structures were erected using squared off, smooth surfaced stones laid in even rows.

· The blocks might have been beveled, cut at an angle, or smoothed into a continuous flowing surface.

· Inca structures had gabled, thatched roofs.

· Doors, windows, and niches were trapezoid shaped.

Page 11: American Art Post 1300s

Walls of the Temple of the Sun:

· made of rectangular blocks

· bocks are smoothed into a continuous flowing surface

Page 12: American Art Post 1300s

Machu Picchu, Peru:

· One of the most spectacular archaeological sites in the world.· The stone buildings located there today, occupy terraces around central plazas, and narrow agricultural terraces descend into the valley.· Its temples and carved sacred stones suggest that it had an important religious function.

Page 13: American Art Post 1300s

Incan Textiles:

· The production of fine textiles is of ancient origin in the Andes.

· Textiles were one of the primary forms of wealth.

· One kind of labor taxation was the required manufacture of fibers and cloth.

· Cloth was deemed a fitting offering for the gods.

Page 14: American Art Post 1300s

Tunic: (23-8)

· Each square in the tunic shown represents a miniature tunic, but the meaning of the individual patterns is not yet completely understood.

· The 4-part motifs may refer to the land of the Four Quarters.

· The checker board pattern designated military officers and royal escorts.

Page 15: American Art Post 1300s

The Fall of the Inca Empire:

· The Spanish, who conquered the Inca in 1532, were far more interested in the Inca’s vast quantities of gold and silver than in cloth.

· They melted down whatever gold and silver objects they found.

· The Inca valued gold and silver because they saw in them symbols of the sun and moon.

Page 16: American Art Post 1300s

Llama: (23-9)

· This object escaped the conquerors’ treasure hunt.

· This was buried as an offering.

· Found near Lake Titicaca

· Thought to have a special connection with the sun, rain, and fertility

· Dressed in a red tunic and gold jewelry, this llama passed through the streets during April celebrations.

Page 17: American Art Post 1300s

Eastern Woodlands:

· When the original settlers of this area were gone, new groups began moving into the Eastern Woodlands.

· These people supported themselves by a combination of hunting and agriculture.

· They lived in villages and cultivated corn, squash, and beans.

· When the Europeans arrived, the Eastern Woodlands people traded with the European settlers. They exchanged furs for metal kettles, needles, cloth, and beads.

· Woodland people made wampum, belts and strings of cylindrical purple and white shell beads. Wampum was used to keep records and exchanged to conclude treaties.

Page 18: American Art Post 1300s

Woodland Art:

· Woodland art focused on personal adornment- tattoos, body paints, and elaborate dress and quillwork- the quills of porcupine and bird feathers are dyed and attached to materials in patterns.

· Quill work and basketry were a woman’s art form.

· Basketry is the weaving of reeds, grasses, and other materials to form containers. The three major techniques are: coiling, twining, and plaiting.

· Beadwork became popular when the woodland artists began to acquire European colored glass.

· Beadwork became incorporated into reintegration.

Page 19: American Art Post 1300s

Baby Carrier: (23-10)

· Richly decorated with symbols of protection and well-being, including bands of antelopes in profiles and thunderbirds with their heads turned and tails outspread.

Page 20: American Art Post 1300s

Shoulder Bag: (23-11)

· Exemplifies the evolution of beadwork design

· In contrast to the rectilinear patterns of quillwork, this Delaware bag is covered with curvilinear plant motifs

· White line outline brilliant pink and blue shaped forms

Page 21: American Art Post 1300s

Great Plains

· Over time, the woodland people were pushed westward by Europeans. They settled again in the Great Plains.

· They developed a nomadic lifestyle.

· A distinctive plains culture flourished from about 1700 to 1870.

· A light portable building called a tepee was created.

· By 1885, the plains people were outnumbered and out gunned by Euro-Americans.

Page 22: American Art Post 1300s

Blackfoot Women raising a Tepee: (25-12)

· Frame work of a teepee consisted of a stable frame of three or four long poles, in a roughly egg-shaped plan.

· The framework was covered with waterproof animal hides.

· Tepees were the property and responsibility of women.

· Men recorded their exploits in symbolic and narrative form in paintings on tepee linings.

Page 23: American Art Post 1300s

The Northwest Coast

the Pacific coast of North America is a region of unusually abundant resourcespeoples of the Northwest Coast – the Tlingit, the Haida, and the Kwakwaka'wakw (or Kwakiutl)social rank within and between related families was based on genealogical closeness to the mythic ancestora family derived its name and the right to use certain animals and spirits as totemic emblems, or crests, from its mythic ancestorthese emblems appeared prominently in Northwest Coast art, notably in carved house crests and the tall, freestanding poles erected to memorialize dead chiefs

Page 24: American Art Post 1300s

23-14 Grizzly bear house-partition screen, from the house of Chief Shakes of Wrangell, Canada, c. 1840. Cedar, native paint, and human hair, 15 x 8' – Denver Art Museum

the image of a rearing grizzly bear painted on the screen is itself made up of smaller bears and bear heads that appear in its ears, eyes, nostrils, joints, paws, and body

the images within the image enrich the monumental symmetrical design the oval door opening is a symbolic vagina; passing through it reenacts the birth of the family from its ancestral spirit

Page 25: American Art Post 1300s

23-15 Chilkat Blanket. Tlingit, before 1928. Mountain-goat wool and shredded cedar bark, 551/8” x 633/4” - American Museum of Natural History, New York

the weavers did not use looms; instead, they hung warp threads from a rod and twisted colored threads back and forth through them to make the patternThe ends of the warp formed the fringe at the bottom of the blanketthe small face in the center of the blanket shown here represents the body of a stylized creature, perhaps a sea bear (a fur seal) or a standing eagleon top of the body are the creature's large eyes; below it and to the sides are its legs and clawscharacteristic of Northwest painting and weaving, the images are composed of two basic elements: the ovoid, a slightly bent rectangle with rounded corners, and the formline, a continuous, shape-defining linehere, subtly swelling black formlines define shapes with gentle curves, ovoids, and rectangular C shapeswhen the blanket was worn, its two-dimensional forms would have become three-dimensional, with the dramatic central figure curving over the wearer's back and the intricate side panels crossing over his shoulders and chest

- Chilkat men created the patterns, which they drew on boards, and women did the weavingthe blankets are made from shredded cedar bark wrapped with mountain-goat wool

Page 26: American Art Post 1300s

23-16 Edward S. Curtis. Hamatsa dancers, Kwakwaka'wakw, Canada

Many Native American cultures stage ritual dance ceremonies to call upon guardian spiritsthe participants in Northwest Coast dance ceremonies wore elaborate costumes and striking carved wooden masksamong the most elaborate masks were those used by the Kwakwaka'wakw in their Winter Ceremony for initiating members into the shamanistic Hamatsa societythe dance reenacted the taming of Hamatsa, a people-eating spirit, and his three attendant bird spiritsmagnificent carved and painted masks transformed the dancers into Hamatsa and the bird attendants, who searched for victims to eatstrings allowed the dancers to manipulate the masks so that the beaks opened and snapped shut with spectacular effect

Page 27: American Art Post 1300s

Attributed to Willie Seaweed. Kwakwaka'wakw Bird Mask, from Alert Bay, Vancouver Island, Canada. Prior to 1952. Cedar wood, cedar bark, feathers, and fiber, 10 x 72 x 15”

During this ceremony the masked bird dancers appear. Snapping their beaks, these masters of illusion enter the room backward, their masks pointed up as though the birds are looking skyward. They move slowly counter-clockwise around the floor. At each change in the music they crouch, snap their beaks, and let out their wild cries of Hap! Hap! Hap! Essential to the ritual dances are the huge carved and painted wooden masks, articulated and operated by strings worked by the dancers. Among the finest masks are those by Willie Seaweed, a Kwakwaka'wakw chief.

Page 28: American Art Post 1300s

The Southwest

The Native American peoples of the southwest include the Pueblo (village-dwelling) groups and the NavajoThe Pueblo groups are heirs to the ancient Anasazi and Hohokam cultures, which developed a settled, agricultural way of life around 550 CEThe Navajo, who moved into the region about the 11th century or later, developed a semisedentary way of life based on agriculture and, after the introduction of sheep by the Spanish, sheepherdingBoth groups' arts reflect the adaptation of traditional forms to new technologies, new mediums, and the influences of the dominant American culture that surrounds them

Page 29: American Art Post 1300s

The PueblosThe Pueblos

Page 30: American Art Post 1300s

Taos Pueblo

This it located in north-central New MexicoTaos once served as a trading center between Plains and Pueblo peoplesit burned in 1690 but was rebuilt about 1700 and has often been modified since“Great houses,” multifamily dwellings, stand on either side of Taos Creek, rising in a stepped fashion to form a series of roof terraces. The houses border a plaza that opens toward the neighboring mountains. The plaza and roof terraces are centers of communal life and ceremony

Page 31: American Art Post 1300s

23-19. Maria Montoya Martinez and Julian Martinez. Blackware storage jar, from Sam Ildefonso Pueblo, New Mexico. c. 1942. Ceramic. Height 183/4”

inspired by prehistoric blackware pottery that was unearthed at nearby archaeological excavations, she and Maria Montoya Martinez's husband, Julian Martinez, developed a distinctive new ware decorated with matte (nongloss) black forms on a lustrous black backgroundMaria made pots covered with a slip that was then burnishedusing additional slip, Julian painted the pots with designs that combined traditional Pueblo imagery and the then fashionable Euro-American Art Deco styleafter firing, the burnished ground became a lustrous black and the slip painting retained a matte surface

pottery traditionally was a woman's art among Pueblo peoples, whose wares were made by coiling and other hand-building techniques, then fired at low temperature in wood bonfires

Page 32: American Art Post 1300s

23-20. Pablita Velarde. Koshares of Taos, from Santa Clara Pueblo, New Mexico. Watercolor on paper, 137/8 x 223/8”

-- Velarde's painting combines bold, flat colors and a simplified decorative line with European perspective to produce a kind of Art Deco abstraction

Koshares of Taos illustrates a moment during a ceremony celebrating the winter solstice when koshares, or clowns, take over the plaza from the kachinas – the supernatural counterparts of animals, natural phenomena like clouds, and geological features like mountains – who are central to traditional Pueblo religion-- Kachinas become manifest in the human dancers who impersonate them during the winter solstice ceremony, as well as in the small figures known as kachina dolls that are given to children

Page 33: American Art Post 1300s

-Navajo women are renowned for their skill as weavers

-According to Navajo mythology, the universe itself is a kind of weaving, spun by Spider Woman out of sacred cosmic materials

-Spider woman taught the art of weaving to Changing Woman (mother earth figure) who taught the Navajo women. Spider Woman Changing Woman Navajo Women

-Navajo Blankets: -simple horizontal stripes-white, black, and brown colors

-Mid 19th Century: developed a new technique of unraveling the fibers from commercially manufactured and dyed blankets and reusing them in their own work

The Navajos: Weaving

Page 34: American Art Post 1300s

-Sand paintings are made to the accompaniment of chants by shaman-singers in the course of healing and blessing ceremonies and have great sacred significance.

-Paintings depict mythic heroes and events

-To make them, the singer dribbles pulverized colored stones, pollen, flowers, and other natural colors over a hide or sand ground

-The rituals are intended to restore harmony to the world and so to achieve cures

-They are not meant for public display and are destroyed by nightfall of the day on which they are made

*In 1919, a respected shaman-singer named Hosteen Klah began to incorporate sand-painting images into weavings, breaking with the traditional prohibition against making them permanent.

-many Navajos took offense at Klah both for recording the sacred images and for doing so in a woman’s art form-Klah’s work was ultimately accepted because of his great skill and prestige

The Navajos: Sand Paintings

Page 35: American Art Post 1300s

- sand painting

- depicts a part of the Navajo creation myth in which the Holy People divide the world into four parts and create the Earth Surface People (humans)

-bring forth corn, beans, squash and tobacco, the four sacred plants

-Holy People surround the image

-A male-female pair of humans stands in each of the four quarters defined by the central cross

-The guardian figure of Rainbow Maiden encloses the scene on three sides

-The open side represents the eastWhirling Log CeremonyHosteen Klah5’5” x 5’10”Navajo, c. 1925

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Page 36: American Art Post 1300s

Contemporary Native American Artists

Page 37: American Art Post 1300s

Bill Reid

• 1920-1998• Canadian Haida artist• Sought to sustain and revitalize the traditions of Northwest Coast art in his work • Trained as a wood carver, painter, and jeweler• Reid revived the art of carving dugout canoes and totem poles in the Haida

homeland of Haida Gwaii- “Islands of the People”-known on maps today as the Queen of Charlotte Islands

• Late in life he began to create large-scale sculpture in bronze. With their black patina, these works recall tradional Haida carvings in argillite, a shiny black stone

Page 38: American Art Post 1300s

The Spirit of Haida GwaiiBill ReidBronze; 13’ x 20’ Haida, 1991

•The Eagle, in turn, is bitten by the Seawolf. The Eagle and the Seawolf, together with the man behind them, nevertheless continue paddling.

•Steering the canoe, is the Raven, the trickster in Haida mythology.

•The Raven, assisted by Mousewoman, the traditional guide and escort of humans in the spirit realms

•On the other side are the Bear mother and her twins, the Beaver, and the Godfish Woman.

•According to Reid, the work represents a “mythological and environmental lifeboat,” where “the entire family of living things…whatever their differences,…are paddling together in one boat, headed in one direction.”

Page 39: American Art Post 1300s

Jaune Quick-to-See Smith

• b. 1940• Born on the Confederated Salish and Kootenai Reservation in western Montana and is

enrolled there• Combines traditional and contemporary forms to convey political and social messages

• Quick-to-See created paintings and collages of great formal beauty that also confronted viewers with their own, perhaps unwitting, stereotypes

• As Gerrit Henry wrote in Art in America (November 2001), Smith “looks at things Native and national through bifocals of the old and the new, the sacred and the profane, the divine and the witty.”

Page 40: American Art Post 1300s

Trade (Gifts for Trading Land with White People)Jaune Quick-to-See Smith5’ x 14’2” Salish-Cree-Shoshone 1992

•A stately canoe floats over a richly colored and textured field (which on closer inspection proves to be a dense collage of clippings from Native American newspapers)

•Wide swatches and rivulets of red, yellow, green, and white cascade over the newspaper collage

•On a chain above the painting is a collection of Native American cultural artifacts- tomahawks, beaded belts, feather headdresses- and memorabilia for sports teams like the Atlanta Braces, the Washington Redskins, and the Cleveland Indians, anmes that many Native Americans find offensive.

•Surely, the painitng suggests, Native Americans could trade these goods to retrieve their lost lands, just as European settlers traded trinkets with Native Americans to acquire the lands in the first place